I feel so lucky that I was able to
see 'Stan and Ollie' at the Curzon Cinema, Mayfair,
London on 21st October, whilst it had the World Premiere a
few miles away in Leicester Square. Oh how I wish I had been
at the latter and, if I had been so lucky, I would have made
sure that, after the screening, I would have said just two
words to the stars, Steve Coogan (Stan) and John C Reilly
(Ollie)... 'THANK YOU'.

They were absolutely wonderful and
had obviously done their homework. It was uncanny how these
two actors transformed physically and verbally to become
Stan and Ollie.

Prior to the screening, I was
apprehensive that artistic licence would distort the truth.
Laurel and Hardy were the ultimate comedy team who, after
years of making wonderful comedy films, brought laughter
into the lives of thousands and thousands of people who saw
them on stage in British theatres. In order to illustrate
the love and affection that Stan and Ollie had for each
other, the film-makers have taken some liberties and muddled
chronology. It doesn't matter an iota. Don't get hung up
about these details. When you get the opportunity to see the
film enjoy it for what it is - a celebration of the greatest
comedy team that there has ever been, 'Stan and Ollie'.

You may end up with a tear in your
eye, but I bet you will also have a smile on your
face.

Roger
Robinson

The film could easily have
been depressing - a tragedy, even, in which a pair
of 60-something has-beens face that final curtain.
But the film-makers are too deeply in love with
Laurel and Hardy to take them anywhere so dark.
Directed by Jon S Baird (Filth) and written by Jeff
Pope (Philomena), Stan & Ollie
glows with respect and affection for its title
characters, their long and loyal friendship and
their immortal comic brilliance.

Nicholas
Barber
BBC website

Steve Coogan and John C
Reilly give great portrayals of Laurel and Hardy.
These portraits are detailed, closely observed
labours of love, especially as Coogan and Reilly
had to nail both the screen personae and also
fabricate a subtler, more naturalistic account for
the off-stage versions. It is usual for critics to
talk about performances going beyond "mere"
impersonation, as if impersonation at this level
was easy, or had nothing to do with acting. But
these are brilliant impersonations, the kind that
can only be achieved by exceptionally intelligent
actors; the superb technique of both is matched by
their obvious love for the originals.